“Goa looks like a small child of the sea, who is carried on the hips, sometimes swung to the right and sometimes to the left! Every mile or two, the hip changes but the conversation continues...”
These poetic lines, the imagery by the great poet and filmmaker Gulzar beautifully describes Goa’s scenic coastline and its intimate relationship with the sea. I was fortunate to listen to Gulzarsaheb’s thoughts on Goa as my wife and I accompanied him to Dabolim airport on his return to Mumbai.
As we discussed the infrastructure development and the proposed film city, he jokingly remarked, “Goa ko Goa hi rahne do, Singapore-Bangkok ka naam na do”, which reminded me of his iconic Hindi lyric “Pyar ko pyar hi rahne do, koi naam na do...”
He said, “Goa…You don’t need to search for the locations. You place your camera anywhere and you’ll get that lovely frame you want!”
The landscape
Gulzarsaheb share his thoughts on Goa years back when the other side of river Mandovi, the Betim-Verem hillocks opposite Panaji city were still pristine, not truncated. Those were the days when Taleigao’s lush fields, still untouched by the concrete, stretched as far as eyes could see... and then, the tall towers with revolving restaurants on the new Zuari bridge of today was not dreamt of.
Today, a lot of water has flown beneath the bridge. Goa’s landscape has undergone significant changes over the years. So also the location for the proposed film city!
With the change in government heads and their committee experts, the search for the location has shifted across Pernem which borders Maharashtra to Canacona which borders Karnataka. This prolonged search has raised concerns about the project's feasibility.
The Goan cinema
Goan cinema, though smaller in scale compared to Bollywood and South Indian cinema, is a vibrant and culturally significant sector that reflects the unique blend of Indian and Portuguese influences in Goa.
Known for its Konkani-language films, Goan cinema has carved a niche by showcasing the State’s rich heritage, traditions, and linguistic diversity.
Goan cinema, primarily centred on Konkani-language films, has a history dating back to the 1950s with the release of ‘Mogacho Aunddo’ (1950), directed by Jerry Braganza, marking the birth of Konkani cinema. The industry has evolved from producing a handful of films to gaining critical acclaim through works like ‘Nachom-ia Kumpasar’ (2014) by Bardroy Barretto, a musical drama set in 1960s Goa, and ‘Paltadacho Munis’ (2009) by Laxmikant Shetgaonkar, ‘Kazro’ by Rajesh Pednekar which won the prestigious FIPRESCI Award at the Toronto International Film Festival. These films highlight Goan culture, music, and traditions, resonating with both local and global audiences.
Filmmakers like Rajan Talak and Dinesh Bhonsle have made their mark by winning national awards for regional language Konkani films. Goan cinema is characterised by its linguistic diversity, producing films in Konkani and occasionally in Marathi, reflecting the State’s multicultural identity.
The rise of digital platforms like OTT services has also provided Goan filmmakers with opportunities to reach wider audiences.
The challenges
But cinema as a business is altogether a different cup of tea.
The current scenario of the Goan film industry, its infrastructure, government role, economic contributions, and employment generation is insignificant in comparison with Bollywood and the South Indian film industries.
While Goa boasts of natural beauty and a major host for national and international shoots and film festivals, its cinematic infrastructure is underdeveloped.
The government of Goa has formed the Entertainment Society of Goa (ESG) for the development of films, film infrastructure and film culture, while Goa hosts the annual International Film Festival of India (IFFI). Goans are exposed to the best of the world cinema at home.
But the infrastructure for filmmaking in Goa is limited compared to major hubs like Mumbai (Bollywood) or Hyderabad and Chennai (South Indian cinema). Goa lacks state-of-the-art studios, post-production facilities, lights and equipment, forcing filmmakers to rely on Mumbai or other cities for technical support.
There are no formal institutions for film education in Goa, though initiatives like the Entertainment Society of Goa (ESG) are beginning to address this gap through workshops and training programs. Some private business houses had started their film academies with the commercial aim but could not survive. The Goan enthusiasts prefer Mumbai and Pune institutes.
Professionally, there are less than a handful of Goan filmmakers and most of them earn their living in Mumbai. Many filmmakers in Goa are part-time filmmakers who balance their creative pursuits with their individual jobs and businesses.
The Goan cinema is currently struggling. There are no deep pocketed financiers queuing up, no distributors eager to carry its voice, no exhibitor offering it a screen with pride. And even when a film manages to secure a rare release window, it often fails to generate significant box office returns. Konkani cinema lacks stars that can draw large crowds. Theatre rents remain unmet. Producers are burdened with debts and loans. The government subsidies and incentives which cover not even half the budget of the film are frequently delayed, sometimes as long as five years to materialise. As a result, producers have come to understand the distinction between pursuing film making as a hobby and as a profession.
Despite its growth, the industry remains small, producing fewer films annually compared to Bollywood or South Indian industries.
Filmmakers from other States will prefer Goa only for outdoor shooting if there is need. As for indoors, they have better and more affordable facilities in their own State. Shooting in Goa is always an expensive endeavour like the tourism scenario as for lodging boarding, travel and transport and of course for the skilled technicians and the labour.
The economics
Recent developments, such as the proposed film city in Goa, aim to address these gaps. But how much revenue can be created is a matter of debate. IFFI is a yearly event and a celebration of films. The government of Goa spends on it. Film city is not an event. It’s not a celebration. It’s a business. There are investments. Government and private too!
The Goan film industry certainly is not as economically significant as Bollywood or South Indian cinema. Film production stimulates ancillary industries such as catering, logistics, and equipment rentals, creating indirect economic benefits.
However, the industry’s economic impact is limited by its small scale and competition from larger industries. Can the proposed film city enhance economic contributions by attracting more productions and creating a self-sustaining ecosystem? Can the Goan film industry be a significant source of employment, particularly for local talent? Can financiers, producers, directors, filmmakers, actors, cinematographers, editors, technicians, writers, and musicians find opportunities in film production?
And as in film production, there is indirect employment. Ancillary sectors like hospitality, transportation, and local businesses benefit from film shoots, creating jobs for caterers, drivers, and service providers. The proposed film city is projected to create 5,000 jobs, ranging from technical roles to support services, significantly boosting employment in the State.
But this can only happen if we have a minimum of a hundred film productions every year. We have hardly a handful of Goan productions every year with an average film budget of Rs 50 lakh.
Compared to Bollywood, which employs approximately 8.5 lakh people directly and 26.6 lakh including indirect and induced effects, Goan cinema’s employment impact is very small. Based in Mumbai, Bollywood is the largest segment of the Indian film industry, producing over 1,000 films annually in Hindi. It contributes significantly to India’s GDP and is a global cultural ambassador. South Indian film industries, comprising Tamil (Kollywood), Telugu (Tollywood), Kannada, and Malayalam cinema, collectively produce around 700–800 films annually. Films like ‘RRR’ and ‘Kantara’ have gained international acclaim, contributing Rs 11,000–12,000 crore as revenue in 2023.
Goan cinema produces a handful of low budget films annually, primarily in Konkani, with a focus on cultural storytelling. We don’t have an audience. We don’t have a market, and so the investments. In this commercial and competitive business, one thing we, Goan film makers, have to learn is that only government schemes and incentives are not going to help us grow.
Mumbai boasts advanced studios, post-production facilities, and a robust distribution network, making it a global filmmaking hub. South Indian Cinema: Chennai, Hyderabad, and Bengaluru have well-established film cities and studios, supporting large-scale productions in multiple languages. Bollywood generates significant revenue through box office, OTT platforms, satellite rights, and music rights, contributing to tourism and cultural exports. South Indian Cinema matches Bollywood in revenue generation, with films like ‘RRR’ earning Rs 11.1 billion worldwide. Regional cinema also drives tourism and local economies in Chennai, Hyderabad, and beyond.
Bollywood employs millions directly and indirectly, with a vast network of production houses, studios, and ancillary services. South Indian Cinema provides substantial employment in regional hubs, with films like ‘Baahubali’ and ‘Jailer’ creating jobs for thousands.
The Goan film economy is relatively small and localised. Despite the vibrant culture and love for cinema, Goa’s film industry struggles with visibility and sustainability compared to its Indian counterparts.
Looking Forward
As we look ahead to the next five years, a fundamental question arises: Is there a genuine need for Goa to establish a Film City at this juncture? Or will it become another real estate venture, similar to those in Noida or Uttar Pradesh?
Does Goa possess its own Goan film industry to drive the project? If not, and if Goa lacks its own production houses, how will the Film City project function as a regional filmmaking hub? Will we need to rely on other states and their film business activities to sustain our Film City?
The pursuit of a suitable location for the Film City has been a long-standing endeavour, with the search continuing over several years. The search has reportedly reached Canacona, a lush green village at the foothills of the Sahyadri ranges and the silvery shores of the Arabian Sea at its feet.
A universal thought comes to mind: Must a village die for a city to be born? Can we conceptualise a Film Village instead of a Film City? Where other states have their Film Cities, let Goa have a concept of Film Village.
As the government looks forward to promoting hinterland tourism, the Film Village concept can serve as a touristic attraction, while also retaining the nature and essence of a Goan village.
